Minority Views: Liberator, American Cinema, and the 1960s African American Film Criticism

• Autorzy: Smoliński Sebastian
• Języki publikacji: EN

Abstrakty

PL

Spojrzenie mniejszości. „Liberator”, kino amerykańskie i afroamerykańska krytyka filmowa lat 60. XX w.

Słowa kluczowe

PL

czasopismo „Liberator”; kino afroamerykańskie; ruch praw obywatelskich; ruch Black Arts; czarny radykalizm; czarna prasa

EN

“Liberator” magazine; African American cinema; civil rights movement; Black Arts movement; black radicalism; black press

• Wydawca: Polska Akademia Nauk. Instytut Sztuki PAN
• Czasopismo: Kwartalnik Filmowy
• Rocznik: 2022
• Numer: 120 Kultura filmowa
• Strony: 144-163

Twórcy

autor

Smoliński Sebastian

• Uniwersytet Warszawski

Bibliografia

• [NN] (1965). Introducing Chameleon Productions. Liberator, 5 (9), p. 15.
• Aiello, T. (2009). “Hurry Sundown”: Otto Preminger, Baton Rouge, and Race, 1966-–1967. Film History: An International Journal, 21 (4), pp. 394-410.
• Barrett, W. (2008, October 27). Clayton Riley, 1935-2008. The Village Voice. https://www.villagevoice.com/2008/10/27/clayton-riley-1935-2008
• Bogle, D. (2002). Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films. New York – London: Continuum.
• Bourdieu, P. (1993). The Field of Cultural Production, or: The Economic World Reversed. In: P. Bourdieu, R. Johnson (ed.), The Field of Cultural Production (pp. 29-73). New York: Columbia University Press.
• Brown-Guillory, E. (2013). “Feet, Don’t Fail Me Now”: Place and Displacement in Black Women’s Plays from The United States, South Africa, and England. CLA Journal, 57 (2), pp. 95-110.
• Canby, V. (1969, July 11). Screen: “Putney Swope,” a Soul Story. The New York Times, p. 19.
• Clarke, A. C. (1969). Uptight. Liberator, 9 (3), p. 18.
• Crowther, B. (1964, December 22). Screen: Agent 007 Meets “Goldfinger”. The New York Times, p. 36.
• Everett, A. (2001). Returning the Gaze: A Genealogy of Black Film Criticism, 1909-1949. Durham – London: Duke University Press.
• Ford, C. (1964). The Black Boom. Liberator, 4 (8), p. 16.
• Giovacchini, S. (2001). Hollywood Modernism: Film and Politics in the Age of the New Deal. Philadelphia: Temple University Press.
• Horak, J.-C. (2015). Tough Enough: Blaxploitation and the L. A. Rebellion. In: A. N. Field, J.-C. Horak, J. N. Stewart (eds.), L. A. Rebellion: Creating a New Black Cinema (pp. 119–155). Oakland: University of California Press. https://doi.org/10.1525/9780520960435-006
• Johnson, A. A., Johnson, R. M. (1979). Propaganda and Aesthetics: The Literary Politics of Afro-American Magazines in the Twentieth Century. Amherst: The University of Massachusetts Press.
• Kessler, L. (1984). The Dissident Press: Alternative Journalism in American History. Beverly Hills: Sage Publications.
• Lierow, L. (2013). The “Black Man’s Vision of the World”: Rediscovering Black Arts Filmmaking and the Struggle for a Black Cinematic Aesthetic. Black Camera, 4 (2), pp. 3-21. https://doi.org/10.2979/blackcamera.4.2.3
• Meek, R. (1969). The Lost Man. Liberator, 9 (7), p. 20.
• Neal, L. (1968). Film and the Black Cultural Revolution. Arts in Society, 5 (2), pp. 348-–350.
• Neal, L. P. (1965). Goldfinger. Liberator, 5 (5), p. 28.
• Ormand, R. (1969). The Learning Tree/Putney Swope. Liberator, 9 (11), p. 18.
• Parks, G. (1971, August 22). Aiming Shafts at a Critic of “Shaft”. The New York Times, section D, p. 8.
• Raymond, E. (2015). Stars for Freedom: Hollywood, Black Celebrities, and the Civil Rights Movement. Seattle – London: University of Washington Press.
• Riley, C. (1965). Nothing But a Man. Liberator, 5 (2), p. 20.
• Riley, C. (1965). The Pawnbroker. Liberator, 5 (6), p. 25.
• Riley, C. (1967). Dutchman. Liberator, 7 (4), p. 20.
• Riley, C. (1967). Hurry Sundown. Liberator, 7 (5), p. 21.
• Riley, C. (1967). The Battle of Algiers. Liberator, 7 (11), p. 21.
• Riley, C. (1967). The Professionals. Liberator, 7 (2), p. 20.
• Riley, C. (1968). For Love of Ivy. Liberator, 8 (9), p. 21.
• Riley, C. (1969). The Wild Bunch. Liberator, 9 (8), p. 21.
• Riley, C. (1970). Putney Swope. Liberator, 10 (3), p. 21.
• Riley, C. (1971, July 25). A Black Movie for White Audiences?. The New York Times, section D, p. 13.
• Slocum, D. (2004). The “Film Violence” Trope: New Hollywood, “the Sixties,” and the Politics of History. In: S. J. Schneider (ed.), New Hollywood Violence (pp. 13-33). Manchester: Manchester University Press.
• Smethurst, J. E. (2005). Black Arts Movement: Literary Nationalism in the 1960s and 1970s. Chapel Hill – London: The University of North Carolina Press.
• Tinson, C. M. (2017). Radical Intellect: “Liberator” Magazine and Black Activism in the 1960s. Chapel Hill: The University of North Carolina Press.
• Tolson, M. B. (2006). “Gone With the Wind” Is More Dangerous Than “Birth of a Nation”. In: P. Lopate (ed.), American Movie Critics: An Anthology From the Silents Until Now (pp. 140-144). New York: The Library of America.